A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to re-jump start his career, but the situation quickly escalates into an out-of-control circus.
Lt. Col. Robert (Dutch) Holland was a third baseman for the St. Louis Cardinals, not a pitcher. While at spring training a B-36 flew over the field and Dutch was standing on third base. ... See full summary »
Originally made with a German soundtrack for screening in occupied Germany and Austria, this film was the first documentary to show what the Allies found when they liberated the Nazi ... See full summary »
Biography of Charles Lindburgh from his days of precarious mail runs in aviation's infancy to his design of a small transatlantic plane and the vicissitudes of its takeoff and epochal flight from New York to Paris in 1927. Written by
Paul Emmons <email@example.com>
There was a scale model (approx. 1/5 the size) of the Spirit in the old Air Museum in San Diego's Balboa Park before the museum burned down in 1976. The museum hired an elderly lady to talk to the visitors who looked at the model. She claimed that her husband was in the group photo of the team who built the original Spirit. She also said that she had some of the scrap fabric left over from the construction. She told a story about each of the team members, including the secretary. Lindbergh is on one end and wearing a crumpled hat. She explained that the hat belonged to a man on the other end of the picture, and Lindbergh grabbed it as a joke and ran around to the other end of the group just before the picture was taken. The taking of this picture is in the movie, but Lindbergh is out of place, and he's not wearing a hat. Sadly, the model was lost in the fire. See more »
During his solo flight across the North Atlantic (1927), Lindbergh (James Stewart) opens his lunch box which contains various things to eat. Amongst this array of foods are sandwiches which are clearly made from sliced bread, which didn't become available until the following year (1928). See more »
[checking his copy]
Here at the Garden City Hotel, less than a mile from Roosevelt Field... less than three-quarters of a mile from Roosevelt Field... everyone is waiting, as they have been now for seven days and nights, waiting for the rain to stop...
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One of the most exhilarating adventure stories ever filmed
Every year there's one can't-miss much-anticipated red-hot big-budget title with the right combination of star, director and subject matter that fails miserably at the box-office. This year it was Superman Returns. In 1982 it was Blade Runner. In 1957 it was Billy Wilder's The Spirit of St Louis, a film that had everything - top director, huge star, best-selling true story about an American hero - except enough of an audience to cover its costs. Maybe the public still remembered Lucky Lindy's anti-Semitism and his loud admiration for Nazi Germany's achievements before the war (neither covered in the film, which ends with his arrival in Paris before the legend got too tarnished). Maybe because they thought they knew the story or that it was just going to be one guy stuck in a cockpit for two hours. Certainly Wilder and co-writer Wendell Mayes are aware of the dramatic pitfalls of Lindbergh's relatively uneventful flight, alternating between a well-executed flashback structure to key points in his life and the build-up to the flight itself. Once the film is airborne, it's both surprising and suspenseful, finding genuine drama in his attempts to stay awake and to navigate without proper instruments.
It also builds up a quite remarkable sense of dread that's unlike anything else in Wilder's filmography, allied to a real sense of the epic: shots like the ominous storm clouds over the hanger the dark dawn before the flight carry a real chill of foreboding to them. Even the typically muted and problematic WarnerColor adds to the film rather than detracts from it. Along with the superb use of CinemaScope, there's a remarkable score from Franz Waxman: majestic, soaring but filled with understated menace, and cleverly used as part of the fabric of the film rather than mere musical accompaniment. The film does lose points for implying, though never actually saying outright, that this was a race to be the first to fly the Atlantic - in fact, Lindbergh was the third man to fly across the Atlantic after almost completely forgotten Brits Alcock and Brown's astonishing flight eight years earlier - but it's still a remarkably tense and engrossing adventure story that deserved the success it never found.
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